THE WORLD’S BEST-SEL L ING DIGITAL PHOTO

17-23 JUNE
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 W E L C O M E

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 C O N T E N T S
FIND OUT WHAT’S INSIDE THIS ISSUE
NEWS
PEN E-P7 HERALDS THE
RETURN OF OLYMPUS
New camera is the first from
the iconic brand’s new owners
FEATURE
STREETS AHEAD
Pro tips for capturing candid
portraits around the city
PHOTOS
GALLERY
FEATURE Our pick of the best reader
images from around the world
PHOTOS I N S P I R AT I O N I N S P I R AT I O N
RECORD BREAKERS
Eye-popping images from the
Guinness World Records archive
CRASH COURSE
SEEING DOUBLE
Learn how to capture a stunning
double exposure in-camera
CRASH COURSE PHOTOSHOP PHOTOSHOP
PERFECT PERSPECTIVE
Correct converging verticals and
more with the Geometry tools

JUST
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 N E W S
W H AT ’ S H O T
THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY

PEN E-P7 HERALDS RETURN

OF THE OLYMPUS BRAND
New travel camera is first under new owners – and it looks familiar

snoituloS latigiD MO ©

O M Digital Solutions has

announced the Olympus PEN
E-P7 – the first new Olympus
camera of the new era, under new
ownership – and it’s a familiar-looking
travel camera with upgraded specs.
Almost exactly a year ago, the
Olympus Corporation announced it
was selling its cameras division to
a Japanese investment fund, which
led to the creation of a subsidiary
called OM Digital Solutions.
It’s this company, which will continue
using the Olympus brand name, that
has launched the Olympus PEN E-P7,
making it the first camera released
under the new owners. But the E-P7
is by no means a break from the past
– in fact, its spec sheet suggests it’s
very much a product of its previous
owners, and was probably already in
the pipeline prior to the sale.
The PEN E-P7’s name suggests
that it’s the spiritual successor to the
Olympus PEN E-P5, which launched
back in 2013. But it’s perhaps more fitting
to call it a compact, viewfinder-less
version of the Olympus OM-D E-M10
Mark IV from last year.
Like the E-M10 Mark IV, the E-P7
combines a 20MP Four Thirds
sensor with a Truepic VIII processor,
a combination that has historically

THE WEEK’S TOP HEADLINES IN PHOTOGRAPHY
produced impressive, smartphone-
beating snaps with good dynamic
range. A Four Thirds sensor might not
be as large as an APS-C chip, let alone
the sensors inside the best full-frame
cameras, but it’s large enough to
produce superior results to the best
camera phones.
This image quality is boosted by
the inclusion of a 5-axis in-body image
stabilisation system (IBIS), which gives
you up to 4.5 stops of compensation.
This is still relatively unusual in such
a small body, and is helpful for both
shooting in low light (where you need
longer shutter speeds to preserve
image quality) and handheld video.
The main differences between the
new camera and the pricier OM-D
E-M10 IV are in the E-P7’s design.
While you miss out on an electronic
viewfinder, which can be helpful when
shooting in brighter conditions, you do
get a stylish, compact body that weighs
just 337g, or 430g when combined with
the M.Zuiko Digital ED 14-42mm
f/3.5-f/5.6 EZ kit zoom.
snoituloS latigiD MO ©
N E W S
And while the E-P7 is very much a
photography-centric camera, it does
at least shoot 4K/30p video too, albeit
without the phase-detection autofocus
or microphone inputs of true vlogging
cameras like the Sony ZV-1.
Strangely, the Olympus PEN E-P7
will only be going on sale in Asia and
Europe initially, with no US release in the
cards right now. This is perhaps because
snoituloS latigiD MO ©
those two markets have proven to be
the most popular for classic travel
cameras of this kind.
On paper, the E-P7 could certainly
repeat the success of some of its PEN
forebears, which are all inspired by the
design of Olympus’ film cameras from
the 1960s. It has almost identical specs
to the Olympus OM-D E-M10 Mark IV,
which is one of our favourite beginner
cameras and also one of the best travel
cameras, so the omens are promising
for the E-P7.
On the other hand, it remains to be
seen how many people will be looking
to upgrade their travel camera this year
given pandemic-related restrictions,
and the E-P7 doesn’t exactly reinvent
the genre. It’s effectively some existing
tech repackaged in an albeit charming
and attractive body.
Another slight downer is the price.
The Olympus PEN E-P7 is available in
either black-and-silver or white-and-
silver for £749 (body-only) or £849
with the M.Zuiko Digital ED 14-42mm
F3.5-5.6 EZ kit lens.
This seems a little pricey considering
you can currently buy the Olympus
OM-D E-M10 Mark IV, which has an
electronic viewfinder, for less.
 F E A T U R E

THE PRO
COLIN MOODY
CAMERA: VARIOUS
Colin moved to Bristol 11
years ago from London,
and hasn’t looked
STREET
SMARTS THE APPRENTICE
CASSIDY GRACE
CAMERA: NIKON Z 6
Cassidy is from Cardiff,
and is finishing her
bachelor’s degree in
back. He splits his time journalism and media at
between photojournalism Bristol’s University of the
assignments, leading
workshops, putting on Photojournalist Colin Moody shows an West of England. She
enjoys travel and portrait
exhibitions and authoring aspiring street photographer how to photography, but wants
photography books. Colin
has been mentored by capture her own narratives to spend more time
capturing the city she’s
Martin Parr, and his work called home for the past
has won various awards. few years.
See more of his work at
https://bit.ly/3a9azvt
 F E A T U R E
TECHNIQUE ASSESSMENT
Colin showed Cassidy how to set up her camera to maximise
her chances of capturing eye-catching street shots
MANUAL MODE
Colin says… I shoot in
Manual mode unless I’m
using a point-and-shoot
camera as I need to be
able to rely on my settings.
Street photographers have
to act quickly, and although
automatic functions work
well most of the time,
you need to ensure the
camera doesn’t deliver
any surprises.

CAMERA SETTINGS
Colin says… We started at
ISO200, which was ideal
as we were outside with
plenty of light. I often use
lower f-stops to create a
shallower depth of field
and pull the subject from
the background. I’ll shoot
above 1/125 sec to avoid
lots of motion blur, or below
1/100 sec if I want to make
blur a feature.

STAY SINGLE
Colin says… I use the
Single Shot drive mode
unless I have to capture
something particular while
on assignment. Long
sequences take ages
to filter through in post,
making it more likely that
you’ll miss that winning
shot. Taking single shots
force you to be more
deliberate and disciplined.

S tokes Croft is a magnet
for street photographers in
Bristol. The comparatively
tiny area encapsulates the cultural
diversity, and love of art and music
the city in the south-west of
England is known for. Independent
businesses line the streets, many
adorned with towering murals and
colourful displays of graffiti –
including Banksy’s infamous Mild
Mild West. The architecture harks
back to the area’s industrial roots,
and you don’t have to look far to
find evidence of its ongoing efforts
to defy gentrification.
Colin Moody has photographed
Stokes Croft for years and is an
active member of the local arts
community. “Every photographer
has a way of seeing the universe
and that’s what we’re going to
explore today,” he told Cassidy as
she chained up her bicycle and
pulled her Nikon Z 6 from her
camera bag. “It isn’t just taking
pictures, it’s finding stories… being
nosy,” said the pro as Cassidy
laughed. “You could walk the
streets around here thousands of
times and you’d still come across
something different.”
F E A T U R E
Cassidy’s first question was
what file format Colin used. “I
shoot raw for clients and JPEG at
protests as I get trigger happy,”
he replied. “I need to make sure
I don’t run out of space, and the
smaller files are much easier to
transfer and handle. Let’s go with
JPEG + Raw today. That gives you
the best of both worlds. The
magazine will appreciate the large
files, and the JPEGs will allow you
to quickly assess the images on
your computer.”
Focusing was next, and Colin set
the Z 6 to Wide Area AF combined
with single-servo AF. “I like to focus
and reframe,” explained the pro.
“Click OK to centre the AF points,
lock focus on the subject, refine
your framing and take the shot.
Cassidy explained that she was
set to Matrix metering and Colin
agreed it was the best choice.
The final step was to set the
camera’s white balance to Natural
Light Auto. “It’s about setting
yourself up so you can react as
quickly as possible,” said Colin.
“My aim is to get everything right
in-camera. I might adjust the
contrast a bit in post, and
CAMERA Nikon Z 6
LENS 35mm f/1.4
EXPOSURE 1/160 sec, f/6.3, ISO200
HOT
SHOT
#1
black-and-white images obviously
need processing, but I keep the
editing to a minimum.”
STREET MEETS
With the settings sorted the pair
began wandering around Bristol’s
backstreets. Cassidy looked
through the EVF of her Z 6 for
reference and laughed: “I should
probably take my lens cap off…”
“That’s the number one rule!”
said Colin with a chuckle.
“Seriously though, as soon as
your camera is ready the lens cap
comes off and doesn’t go back
on until you’ve finished. Street
photographers need to be ready
at a moment’s notice.” He pulled
 F E A T U R E
CAMERA Nikon Z 6
LENS 18-35mm f/3.5-4.5
EXPOSURE 1/25 sec, f/14, ISO100
HOT
SHOT
#2
a lens from his kit bag. “The cap
on this one doesn’t even fit any
more. It melted slightly when I got
too close to a burning vehicle
during a protest.”
As the pair passed by a cafe
called El Jefe José Cubanos, Colin
struck up a conversation with the
proprietor. “Forming relationships
in your local area is essential,” he
said as they moved on. “That man
said we’re always welcome to go
behind the counter and shoot from
within the shop. You’d be surprised
where you can put yourself and
your camera if you just ask. Now
it’s your turn…”
Colin nodded towards a man
who was sweeping the pavement
by the backdoor of his cafe. A
patch of yellow graffiti
complemented the building’s blue
wall and the man’s top was the
same shade of yellow. Cassidy
dashed across the road, but not
before the man disappeared back
inside. “Knock on the door,”
shrugged Colin. For the first time
Cassidy looked slightly nervous.
“Go on,” said the pro, and the
Apprentice knocked on the door. “I
didn’t think she’d do it,” chuckled
Colin, “I don’t think I’ve ever
done that before myself.”
The man introduced himself
as David and was all too happy to
have his photograph taken. Colin
encouraged Cassidy to frame the
yellow graffiti in the foreground,
while focusing on her portrait
subject. They bid farewell to
David and continued around the
corner and onto the main street.
“I think I like the front of Cafe Cuba
more. Do you think he will come
out again?” Cassidy wasted no
time in knocking on the front door
and sure enough, David was only
too happy to indulge the
photographers once more.
“I take a mixture of posed and
candid photographs,” said Colin.
“Let’s direct David a little. He’s a
powerful-looking man, so let’s
crouch down and shoot up at him
to amplify his strong stance.”
The pro mimicked holding the
man’s brush in the centre of his
body and gazed into the distance,
which David copied. Cassidy now
had two great Hot Shot #1 images
to choose from.
As the pair said goodbye for the
second time, David invited them to
return for margaritas at the end of
the shoot. “See,” said Colin, “you
approached someone, captured
two great shots and now we’ve
HOW TO:
APPROACH PEOPLE
1
SEARCH FOR A SITTER
Colin says… Identify your
subject. I like people who have
worked really hard on their
look and stand out. I approach
them by saying something nice
about their outfit, explaining
I’m a street photographer and
asking if they’re happy for me
to take their photo. The vast
majority of people say yes!
2
CHAT ABOUT THEIR DAY
Colin says… When you capture
a portrait most people will
either smile or break the tension
by doing a silly pose. These
performances aren’t what I’m
interested in, but I’ll politely
capture a few images and then
start talking to my subject about
their day to distract them from
having their photo taken.
3
CAPTURE THE SHOT
Colin says… During this
conversation they will
instinctively begin to relax and
eventually drop their guard.
This is the moment you want to
capture. It might only last for a
split second, so keep talking and
keep your camera at the ready
so you don’t miss the shot.
 F E A T U R E
HOW TO:
SHOOT A SERIES
Colin says… Series of
images are a great way to
convey a narrative. They can
appear over time as you find
yourself shooting similar
subjects or come together
as you photograph a single
moment. As we walked past
City Motor Repairs Cassidy
noticed Ali, busy welding.
When it was safe to do so
she approached and asked
if she could photograph him
working. I warned her not to
look directly at the arc, and
she set off capturing a variety
of images. It was clear when
reviewing the shots they
would make a fine series.
1

Cassidy chats to a potential subject to ask if they’d be happy to have their portrait taken.
2
got margaritas waiting for us the invisible camera moment.”
when we finish…” The pair decided to try another
portrait, but this time to capture a
POSE AND CONS passerby walking through the
Only a few paces down the road frame. A suitable subject was
a magazine vendor called Glenn leaning on a graffiti-covered wall
offered to pose for a photo and listening to music. The man agreed
flamboyantly held his arms out in to have his photograph taken, but
jest. Colin noted Glenn’s striking made no attempt to pose. This 3
blue eyes and medical mask, allowed Cassidy to focus on her
which the man pulled over his composition and settings, while
nose. “Now you can really focus on her subject acted naturally.
his eyes, which complement the “He’s standing very still so we
blue mask and the blue walls of can get away with a slow shutter
the pub behind. speed of 1/25 sec,” said Colin.
“Notice how he initially “Using a steady hand you’ll
performed in front of the camera?” capture the subject sharp and
said the pro as they continued blur anyone walking through the 4
walking. “We’re so used to being frame to convey a sense of
filmed and photographed motion.” After several goes Cassidy
nowadays, it’s almost instinctive, nailed Super Shot #2. She timed it
but cheesy smiles are for social perfectly – the passerby didn’t
media. By chatting to Glenn he obscure the subject – and the
eventually broke character and exposure was long enough to blur
relaxed. And that’s what you really the motion without compromising
want to be photographing. I call it the figure’s shape.

CAMERA Nikon Z 6
LENS 18-35mm f/3.5-4.5
EXPOSURE 1/6 sec, f/25, ISO100
HOT
SHOT
#3
CRACK SHOT
The walk took the photographers
through a construction site where
Cassidy practised candid shots and
a couple of group shots. When they
were back on a main road, Colin
suggested they tried using the
panning technique to capture
a moving vehicle.
Cassidy instinctively switched
the Z 6’s drive mode to Continuous
High, but Colin asked her to switch
back to Single Shot mode. “I want
the shots you take to be a
conscious decision,” he said.
“You’ll surprise yourself at how
accurate you can be. It also takes a
long time to filter through hundreds
of burst sequences, and the more
you have to filter through the more
likely you’ll miss that really
special moment.”
Colin’s instructions were to set
the shutter speed to 1/6 sec and
leave the focus mode on AF-S. This
F E A T U R E
would give Cassidy precious few
moments to lock focus and only EXPERT INSIGHT
one or two chances to shoot the
subject. The aim of panning is to
RUN AND GUN
track the subject and match its
speed before firing the shutter. Colin says… Shoot from the hip to remain
When this is done correctly the inconspicuous and capture candid images.
subject is rendered much sharper A larger depth of field will make it easier to
than the background, which is capture your subject in focus, but don’t be
creatively motion-blurred. afraid to try a shallow depth of field and let
Cassidy practised on a few cars chance dictate your point of focus.
and cyclists, but the shot that
would be picked for Hot Shot #3
was of two people riding
e-scooters. The slow shutter speed
produced plenty of motion blur,
and the equally spaced subjects
added depth to the image and
were sharp enough to be easily
made out, while still retaining a
strong sense of motion. “This is a
topical subject too,” said Colin,
since the vehicles are currently Add an element of chance to your photos and shoot
being trialled in Bristol. from the hip. It’s great fun!
The pair hit the streets once

CAMERA Nikon Z 6
LENS 18-35mm f/3.5-4.5
EXPOSURE 1/125 sec, f/14, ISO500
HOT
SHOT
#4
again. This time Cassidy was able
to try her hand at photographing a
trio of dogs, and captured a series
of documentary-style images of
a friendly mechanic who was
busy welding in his garage’s yard.
Colin suggested they finish the
day by heading into a nearby
residential area to practise taking
some architectural photos and
hopefully capture the final Hot
Shot in the process.
Cassidy was immediately drawn
to a block of high-rise flats, and
Colin noted the juxtaposition of a
two-way traffic sign in the frame:
“The fact that high-rise flats have a
constant flow of people moving up
and down – like the arrows on the
sign – makes this an interesting
shot.” The photographers then
noticed a family who were waving
from their balcony. “They’re too far
away,” said Cassidy as she waved
back. “Be quick then,” said Colin
as he pointed to a nearby
embankment.
Cassidy dashed up the hill as
the family continued to wave
merrily and laugh as they became
F E A T U R E
EXPERT INSIGHT
POOCH PORTRAITS
Colin says… Don’t just focus on people and
buildings. Dogs live in the city too, and they
can convey a lot about their owners. When
Colin and Cassidy discuss using monochrome Cassidy happened upon a local called
to depict scenes ofabandonmentas they pass Sonic and his dogs, I encouraged her to get
a boarded-up pub. right down to the animals’ level. She used
a wide-angle focal length, which was a
the subject of Super Shot #4. brilliant choice as the barrel distortion made
“I still couldn’t get that close, my the dogs appear much more imposing. This
18-35mm just didn’t have the is particularly effective if you photograph
reach,” said Cassidy. But Colin a very small dog like a chihuahua. Making
wasn’t fazed: “You don’t always these miniature mutts intimidating can give
have to get close. Yes, the family your photographs a satirical quality.
is a key part of the image, but it
would work well as a large print.”
The day was drawing to an
end, and as the pair walked back
through Stokes Croft they talked
about the many photos they’d
taken and the people they’d met.
“I still can’t believe you knocked
on David’s door, twice,” said Colin,
“which reminds me. We’ve got
some margaritas waiting for us
back at Cafe Cuba!”
 F E A T U R E
CASSIDY’S COMMENT
Bristol seems like a big place but it’s so
interconnected, which makes it very interesting to
photograph. Colin’s photographs make you see
the extraordinary in the mundane, and my biggest
takeaway was that you can’t always just sit back and
let photo opportunities happen. You have to meet
people, take an interest in the area you’re shooting and
actively pursue extraordinary moments.
COLIN’S VERDICT
The great myth about street photography is that you’re
telling truths, but you’re actually shooting the city the
way you see it, and that’s what I wanted to encourage
Cassidy to explore today. She was proactive in finding
subjects and had the confidence to put her camera
where it needs to be, and that’s definitely the hardest
challenge to conquer.
 F E A T U R E

ESSENTIAL GEAR
PRO PORTFOLIO
COLIN MOODY
The kit Colin relies on for capturing
pro-quality street shots

EAST STREET Faces are everything. I was

at a street festival when I noticed this
woman. I talked to her, took some photos,
LIGHTsays…FOOTED
1 Colin Street photography involves a lot of walking. If I’m covering
talked some more, took more photos…
I used a Gary Fong Lightsphere at the
a protest I can be on my feet all day. It might seem trivial, but I can’t stress quickest flash setting to bring out skin
enough how important a comfy pair of shoes is. You need to travel light too. tones and capture a spark in the eyes.
I carry a sling bag, but any small camera bag will do. Today, Cassidy brought
her Z 6, 18-35mm f/3.5-4.5 and 35mm f/1.4, and that was more than enough.

DAVE GILES BUTCHERS The way Amy looks

at the camera was a result of either tiring
of me or becoming at ease. I used an
ultra-wide lens and a longer exposure,
so I asked her to stay still. An LED battery
light turned on at the last minute to add
some pop to the left side of the frame.

SMALL
2 Colin CAMERAS
says… The temptation is to use a big high-end DSLR, but smaller
devices can work to your advantage. Some people find larger cameras and
lenses intimidating, others see a camera and instantly start performing. I
want to capture the moment when the camera is invisible, so a smaller, more THE WAVE I’ve covered activism for years,
inconspicuous body is useful. Cassidy’s Z 6 was a good size, but I’ve even gone but protestors sending the statue of
so far as to use a tiny COOLPIX compact camera. Colston into Bristol Harbour was the
moment I wanted – based on the print
by Hokusai. The image has been used
Check out Colin’s books: The Great Bristol High Street – Glorious Gloucester Road, and in schools and arts spaces to learn from
Stokes Croft & Montpelier: bit.ly/2Q4nFn4 the moment.
 S U B S C R I B E

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 G A L L E R Y
X P O S U R E
THE WEEK’S MOST INSPIRING READER PHOTOS

WOOD MOUSE
MICK HUSCROFT
“I captured this picture of a wood mouse while I was out walking
my dog, using my Canon EOS 100D and EF 75-300mm f/4-5.6 lens.”
https://bit.ly/3tYhorE
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

DOOR OPEN TO THE SKY

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https://bit.ly/3nfIgRm
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

LATCHFORD RAILWAY VIADUCT

STEPHEN CONWAY
“This is a disused railway viaduct over the Manchester Ship Canal
in Warrington, UK. The route of the rail line now forms part of the
Trans Pennine Trail, although the viaduct is strictly off limits.”
https://bit.ly/3gx7aL7
 G A L L E R Y
THE WEEK’S MOST INSPIRING READER PHOTOS

MALE HOUSE FINCH

TOM MORTENSON
“I photographed this colourful male finch in my backyard in Rothschild, Wisconsin
in January using my Canon 6D and EF 100-400 f/4.5-5.6L IS USM lens. The male finches
have various degrees of bright red or orange-colored heads and chests.”
https://bit.ly/32IySN1

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sdroceR dlroW ssenniuG © segamI

Dimitri Panciera from Italy achieved the Guinness World Record for Kim Goodman (US) can pop her eyeballs to a protrusion of 12mm
the most ice-cream scoops balanced on a cone – 125 (0.47in) beyond her eye sockets

The tallest dog ever is Zeus, a US great dane who measured 1.12m Florida couple Charlotte Guttenberg and Chuck Helmke hold

AMAZING PICS OF GUINNESS

(44in) tall, and 2.23m (7ft 4in) standing on his hind legs the record for the world’s most tattooed senior citizens

WORLD RECORD HOLDERS

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 S K I L L S
CESSENTIAL
R A SPHOTO
H CSKILLS
O UMADER SEASYE

SEEING DOUBLE
Mike Harris shows you how to capture an ethereal double
exposure image of a beautiful blossom in-camera

20
MINS
A multiple exposure is two
or more photos overlaid on
top of one another to form a
single image. This technique
dates back to the Victorian period, and
could be achieved easily with a film
camera by repeatedly exposing the
same piece of film (leading to plenty
of accidental multiple exposures if you
forgot to wind the film on…).
Today you can make a multiple
exposure in post-production, but many
digital cameras allow you to replicate
this age-old form of image manipulation
in-camera with dedicated multiple
exposure modes. Part of the charm of
working this way is that you never quite
know what you’re going to get until the
camera processes the final image. From
moving the camera in tiny increments to
spinning it around the same focal point,
there are lots of ways to capture creative
multiple exposures, and experimentation
is the order of the day.
In this tutorial we’ll show you how
to get started with a simple double
exposure, by merging an image of a
sharp subject with an out-of-focus
backdrop – the resulting image has
an ethereal quality that complements
the soft hues and delicate nature of
the floral subject. It’s worth noting
that the number of exposures that
can be captured and blended will
depend on your cameras, and some
don’t feature a dedicated multiple
exposure mode at all – if your camera
doesn’t have this function you can
still create multiple exposures by
overlaying images on top of one
another in Photoshop using various
opacities and blending modes.
 S K I L L S
STEP BY STEP HOW TO CREATE A DOUBLE EXPOSURE

1
SOFTLY SOFTLY
Soft lighting complements the delicate nature
of blossoms, so we’d recommend shooting
early in the morning, late in the evening, or on
an overcast day to avoid harsh shadows. If you
have no choice but to photograph your subject
on a bright, sunny day, consider softening the
harsh light using a dedicated diffuser.

2
TRY A TRIPOD
If your multiple exposure requires you to
keep repositioning your frame you can shoot
handheld. Our double exposure required little
to no movement, so a tripod was handy as it
enabled us to shoot at slower shutter speeds.
Tripods and image stabilisation don’t mix, so turn
stabilisation or vibration reduction off.

3
MULTIPLE MODES
How you access multiple exposure depends
on your make and model of camera. On our
Nikon DSLR we entered the Shooting Menu and
selected ‘Multiple Exposure’. This allowed for
two modes: ‘On (series)’ and ‘On (single photo)’.
The former keeps Multiple Exposure mode
active until manually turned off, while the latter
only works for a single multiple exposure.
 S K I L L S
STEP BY STEP HOW TO CREATE A DOUBLE EXPOSURE

4
MORE OPTIONS
‘Number of shots’ enables you to set how
many exposures are taken before the camera
processes the final image – we selected two
shots for our double exposure. On our camera,
if ‘Auto gain’ is turned on the camera will
automatically set the exposure of each image,
depending on the number of shots, to balance
the final exposure.

5
TAKE THE FIRST SHOT
Frame your image, and use either AF or MF to
focus on your subject. If you’re using AF, switch
to MF once you’ve locked focus to prevent
hunting. Whether you’re using Aperture Priority
or Manual mode, it’s worth capturing a test shot
to ensure you’re set up correctly. Now enable
Multiple Exposure mode and shoot your subject.

6
BLUR IT OUT
For the second exposure, manually turn your
lens’s focus ring until the entire image is
completely out of focus and capture the shot.
Wait a few seconds for your camera to process
the image, and check the results on the rear
screen. Now that you’ve captured your first in-
camera multiple exposure image, you can have
fun experimenting!

QUICK TIP
Nikon Z-series users can take advantage of the mirrorless format’s clever Overlay mode, which lets you preview the
next exposure in your sequence as it would appear overlaid onto the previous exposure(s) on the rear LCD or EVF.
This happens in real time as you move the frame, giving you much more control over your composition.
 E D I T I N G
PHOTOSHOP
LEARN ESSENTIAL EDITING SKILLS FAST!

HOW TO...
PERFECT YOUR PERSPECTIVE
Use the powerful Geometry tools in Camera Raw and WATCH THE VIDEO
Lightroom to fix converging verticals and wonky frames https://bit.ly/3v65k8n

C onverging verticals occur when we

angle our camera upwards towards
a building or structure – the straight
vertical edges of the building can lean in
towards one another, making it look as if the
building is toppling inwards. This effect is
emphasized the closer you are to the building
– and wider lenses can result in more
pronounced distortion. You may be able to
avoid converging verticals while taking the shot
by stepping back, finding a higher vantage
point or using a tilt-shift lens, but if none of
these options is possible, perspective issues
can usually be fixed in Photoshop or Lightroom.
Here we’re using Camera Raw to fix our
distorted photo, but if you’re a Lightroom user,
you can use the identical tools in the Develop
Module. The Geometry Panel offers a host of
perspective-correcting tools, several of which
apply auto fixes, but there’s also manual control DOWNLOAD THE
in the form of the Guided Tool, which enables PROJECT FILES
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 CAMERA DRONE TEST
EXPERT OPINION ON THE LATEST KIT
DJI AIR 2S
This drone packs a pro-sized camera into a compact frame
T he DJI Air 2S redefines
what’s possible with drone
photography, putting a one-
inch sensor in a tiny package and
surrounding it with sophisticated safety
and compositional aids. On the other
hand, it could be seen as just taking the
already extremely capable DJI Air 2,
and bumping the specs a bit.
Key features
The Air 2S’s predecessor, the Air 2,
sported a 48-megapixel camera with
quad-Bayer filter, which many would
see as effectively 12 megapixels at 1.6
microns. The new camera beats that
with 5472 x 3648 pixels (20MP) at 2.4
microns – this is thanks to an upgrade
in the image sensor size from half an
inch to one inch.
The Air 2S’s aperture is fixed at
f/2.8, but the lens design means that
this is where you get the best results
www.dji.com £899/$999
for drone-based shooting.
Turning to video, the bump to a
maximum of 5.4K (5472 x 3078) would
impress on any drone, even if it is at
30fps. Drop down to 4K (3840 x 2160),
and not only ia the entire image
zoomed quite significantly to match
the crop, but frame rates rise to 60fps.
Build and handling
The Air 2S is clearly built on the Air
2’s frame, with different shell elements
in order to accommodate the extra
sensors top-front – depending on
your taste, you may think it looks all the
better for having a few more ‘eyes’.
The three-axis gimbal behaved
without issue in our testing. Looking
back at the room afforded to the
gimbal on the Air 2, it seemed entirely
plausible that DJI could build a model
with a bigger camera, and though the
overall weight climbs 25g to 595g, the
drone feels just as nimble in the air.
The loss of three minutes of flight time,
to 31, doesn’t sound significant, but we
were aware that we were able to get
slightly less done in the air.
The controller is the same as the one
introduced with the Air 2, which marked
a significant improvement in terms of
battery life and phone grip.
Performance
Video quality is remarkable, with the
image processing algorithms going
a long way to make post-processing
largely unnecessary for most.
Using a drone to capture interesting
action, especially video, is hugely
appealing to outdoor enthusiasts, and
the improvements to the Air 2S feel
like they make this experience more
coherent than with previous drones.
The ease of tapping and dragging to
frame a subject, or even allowing the
 CAMERA DRONE TEST DJI AIR 2S

1 The ceiling above sea level for the Air 2S (local

law allowing) is 5km. Flight time is 31 minutes.
2 Upward-facing sensors help the Air 2S to 01 02
identify and avoid obstacles.
3 The integrated camera uses a 1-inch 20MP
image sensor that’s capable of shooting
high-res stills and 5.4K video.
05 04
4 The Air 2S’s maximum flight distance is
18.5km, and it can reach speeds of 19m per sec.
5 A three-axis gimbal system helps to keep the
camera steady as the drone manouevres.
03
6 The Air 2S is designed to fold up quickly and
into a compact form, for easy stowage. 06

THE DJI FLY APP
Having experienced DJI’s
assorted apps over the years,
we first thought that Fly was
going to be targeted only at
the more consumer-focused
models, like the Mini, but it appears to be
rolling out across DJI’s entire range. With each
iteration, Fly makes new features accessible,
while keeping the interface clean. Long-time
drone geeks like ourselves might have a slight
preference for the more unsubtle graphical
elements of the older app, but the app delivers
a smooth experience.
The system is easy to get used to, while
providing refresher tips for any features that
are less used. We worry about how long you
need to hover for, with eyes off the aircraft, in
FocusTrack system to select a target The Air 2S’s shooting modes include several
(it identifies humans on its own) for
panorama options, enabling the drone to
the drone to follow or otherwise focus auto-position itself and capture multiple
attention on, still surprises, even though overlapping stills that are ready to stitch
this isn’t new to DJI drones. together in software.
Where the Air 2S moves things along
significantly is with the addition of its
upward-facing obstacle-avoidance
sensors. The drone can see forward,
whether it’s leaning into speedy flight or
moving more sedately. This is a much
more effective design than the simple
distance sensors at the back of the
DJI Mavic 2 series, for example, which
can do little more than spot a ceiling or
branch above the rotors.

order to set some things up, but this is a matter
of self-control.
SENSOR: 20MP 1IN CMOS LENS: 22MM
(EQUIVALENT) F/2.8 ISO RANGE: 100-3,200
(12,800 IN MANUAL STILLS MODE) MAX
STILL IMAGE SIZE: 5,472 X 3,648 VIDEO:
5.4K (5,472 X 3,078); 24/25/30FPS STORAGE:
8GB INTERNAL, MICROSD CONNECTIVITY:
2.4/5.8GHZ DUAL-FREQUENCY (WHERE
PERMITTED) FLIGHT TIME: 31 MINUTES
SIZE: 180 X 97 X 77MM (FOLDED); 183 X 253
X 77MM (UNFOLDED) WEIGHT: 595G
The upshot is that we were able
to use ActiveTrack to follow us as we
moved around obstacles; the aircraft
kept the camera on us, and didn’t crash
into horizontal or vertical obstacles,
taking avoiding action even as we
turned, and continuing to follow us.
There are quirks in some of the
tools, too. That the MasterShots mode
drops the system down to 1080P –
easily unnoticed – before it begins its
sequence of captures might seem
cheeky, but the load on the edit
which the DJI Fly app will provide will
be reduced, too. We also found the
Hyperlapse waypoint flight path tricky
to define, although a software update
could fix that.
Adam Juniper
VERDICT
The DJI Air 2S brings a great
camera into a compact airframe,
and combines it with AI systems
that are useful and surprisingly
accessible. It moves the camera
on from the Air 2, welcoming
photo enthusiasts to the drone
world at a more accessible
tier than in the past. Outdoor
adventurers will welcome the
drone’s size and feature-set.
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